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FrauBlucher wrote: Mon May 13, 2024 11:11 pm Does anyone know who did the cover for Pat Garrett and Billy the Kid? It's not listed on the page

cdnchris wrote: Girlfight

cdnchris wrote: Fri May 24, 2024 2:57 am

cdnchris wrote: Girlfight

And I'm blind: I completely missed that the branding and year are missing on the left-hand side of Girlfight's cover.

acroyear wrote: Mon Jun 17, 2024 9:20 pm Nothing really great this month coverwise. All Of Us Strangers is the weakest of the bunch for me, which is compounded as the one release I was most in anticipation for. Generally speaking, I'm just not a fan of tiled image approach to designs.

50th Anniversary Release
Supervised and approved by editor and author Paul Seydor and <I>Pat Garrett and Billy the Kid</I> coeditor and colorist Roger Spottiswoode, the new 4K master was created from the 35 mm original camera negative and a 35 mm color reversal intermediate. The original monaural soundtrack was remastered from the two-inch DME magnetic track. This cut represents a continuation of work begun by Seydor for the special edition released on DVD by Warner Bros. in 2005. That version restored most of the scenes removed from the film's theatrical release, and featured additional tightening by Spottiswoode and fellow Pat Garrett and Billy the Kid editor Robert L. Wolfe, both frequent collaborators of Peckinpah's. The 50th Anniversary Release corrects the earlier version's color grading and sound mix, and includes "further changes we felt were necessary in order to come closer to what Peckinpah himself wanted," according to Seydor and Spottiswoode. Those include the reinstatement of "the scene in the script called 'Tuckerman's Hotel,' and a few lines of additional dialogue in other scenes. The only scene the anniversary release does not retain from the 2005 version is the "prostitute montage," which followed Garrett forcing Ruthie Lee to reveal where the Kid is. (The montage--which Spottisewoode and Katy Haber, Peckinpah's personal assistant, believe the director would have eventually removed had his work on the film continued--can be seen in the Final Preview Cut.)

Original Theatrical Release
The new 4K master was created from the 35 mm original camera negative. The original monaural soundtrack was remastered from the 35 mm DME magnetic track. After Peckinpah stopped working on the film, Spottiswoode and Wolfe took charge in editing, reluctantly removing scenes to bring the film down to the studio's desired length, while nonetheless hewing as closely as possible to Peckinpah's vision. The cut of the film that resulted, released in theaters in 1973, is available here for the first time since its release on VHS.

Final Preview Cut
The Final Preview Cut represents the last version of the film on which Peckinpah worked directly. This new 2K master was created from the 35 mm print from the collection of the Academy Film Archive. The original monaural soundtrack was remastered from the 35 mm magnetic track. Two preview cuts of Pat Garrett and Billy the Kid were shown within days of each other in May 1973, and the Final Preview Cut, released here for the first time, represents the second of those. Both preview versions were works in progress, with scenes missing and color grading and sound mixing incomplete, but the second one includes material missing from the first and an endnote authored and initiated by Peckinpah. "Following the second preview, MGM for commercial reasons demanded that the film be shortened considerably," according to Seydor and Spottiswoode. "Peckinpah refused to cooperate or participate in any further editing (though, contrary to rumor, he was never fired, never barred from the lot or the cutting rooms, and never prevented from continuing to work on the film had he chosen to)." Unrestored and minimally color-corrected, this presentation is intended to convey the feeling of watching the raw, rough-edged, and unfinished film.

All three versions of the film are presented in the aspect ratio of 2.35:1. The 50th Anniversary Release and the Original Theatrical Release are presented in Dolby Vision HDR (high dynamic range) on the the 4K Ultra HD discs and high-definition SDR (standard dynamic range) on the Blu-rays. The Final Preview Cut is presented in high-definition SDR.

Kracker wrote: Mon Jul 15, 2024 6:17 pm why is Criterion suddenly releasing all the edgy films from my teenage years.